Main image: Anthony Gooley as Peter, Jack Finsterer as Michael and Alfie Gledhill as John. Above (l to r) Anthony Gooley as Peter and Jack Finsterer as Michael.
We all know the sensation of wanting to change the past, to be able to return and insert that perfect comment or choose to act differently with the benefit of hindsight.
The world premiere of Phillip Kavanagh’s slick and evocative REPLAY by the Griffin Theatre Company explores and expands upon the vulnerabilities surrounding such reflection. Set in a grieving family environment between male siblings it is a smorgasbord of expression, identity, truth and yearning to re-create what might have been.
The brothers John and Peter vividly re-enact past personal horrors, losing precious parts of reality each time. The play’s hectic surrealism emphasises the differences between personal memories for individuals experiencing the same family events. It allows for lives to be replayed as if the past was tweaked or completely changed.
This is a challenging script to direct. It requires constant overlaps in vocal delivery which must be impeccably timed. Incomplete utterances from characters abound as they are overcome by confusions, reinvented pasts and describing decaying vignettes. These vocal interactions and the eleven contrasted, compact scenes which jump through time or travel along yet another new trajectory are effectively shaped by director Lee Lewis.
This play’s portfolio of change remodels major life events for brothers John and Peter when they remember the childhood death of their brother Michael. The joint passions, confusions and urges to somehow fix past losses will resonate with many viewers. Given the chance to experience new lives through the magic of this play, the characters and audience are quickly shown that a total fix and rewrite of history is not a guarantee of a trouble-free existence.
A unique style of suspense emanates from witnessing the efforts of the brothers to unravel their feelings about real as well as new options for truth. Reactions to the teasing of history are delivered via very satisfying solo and ensemble performances. Cast members manage multiple roles and at times speedy shifts between the emotional palettes of these with ease.
Alfie Gledhill’s portrayal of the youngest brother John is completely engaging from start to finish. The accessibility of this character’s predicament clearly outlines for us a complex but common fleet of male emotions including frustration, fear, confused shame and a craving for acceptance. Gledhill’s facial expressions and carriage across the stage are particularly excellent throughout.
The contrasting character of John’s older brother Peter is played with strong elements of denial, humour and a resourceful vocal and emotional range by Anthony Gooley. He makes good use of the intimate theatre space, around and on the single sofa which dominates the set in several environments.
Gooley clearly paints a portrait of Peter’s emotional denial and unwillingness to revisit the past. As new life versions unfold, this character’s subsequent degrees of loss as created by Gooley are heartbreakingly poignant. His transformation to the role of a wedding guest, Will, who confronts his past enemy Eric is a brilliant knife-edge shift from the layered persona of the broken brother Peter.
Jack Finsterer presents three well-defined characterisations important in defining and outlining situations. Finsterer gives an accurate portrayal of a therapist helping John deal with his custody battle and grief. Appearing next on the sofa at Peter’s place, the incarnation of a now very alive adult brother Michael bursts through dimensions as a witty and bold realisation. This well drawn character changes the pace of the play with hauntingly harsh, entertaining commentary.
Finsterer also excels in a comprehensive chameleon shift to the character of Eric. This obnoxious, over-masculine wedding reception guest confronts another guest, Will, years after they last met. Will’s face triggers sharp memory for Eric to be replayed and repaired in parallel to the secrets of the main protagonists.
With the production of REPLAY, Griffin Theatre Company once again supports an imaginative, innovative new work by an Australian playwright. This play’s study of time, memory and a family’s survival is a tragi-comic thought-provoking treat.
REPLAY continues at the SBW Stables Theatre in Kings Cross until May 7.